"This book was published
on the occasion of the exhibition Carl Andre: Sculpture as place,
1958-2010...Dia:Beacon, Beacon, New York, May 5, 2014-March 2, 2015"--> v
kolofonu. - "Carl Andre (b. 1935) redefined the parameters of abstract sculpture
in the 1960s and 1970s. He was a highly influential voice in the American
minimalist movement, recognized for his ordered linear and grid formats. In the
early 1960s, Andre's creative focus shifted to writing poetry when he took a
job as a freight brakeman and conductor for the Pennsylvania Railroad. His
poems echoed and extended the themes in his sculptural work, and his experience
with the railroad significantly influenced his choice of materials in later
years. In this stunning catalogue, which accompanies the first retrospective of
Andre's work since 1970, the artist's legacy is examined in eleven essays by
international scholars. The book presents a broad range of sculpture made over
the past fifty years, including Andre's emblematic floor and corner pieces,
highlighting his radical use of standardized units of industrial material such
as timber planks, concrete blocks, and metal plates. A vast selection of Andre's
previously unpublished concrete poems, together with letters, postcards,
ephemera, and documentation of important installations, further complements our
understanding of an essential figure in the history of contemporary art"-->
v kolofonu. - Biografija: str. 345-363. - Bibliografija: str. 372-375. - Kazalo

"Between the two splendid poles of Naples and Milan -
the two great rival powers of Italy - were a cluster of duchies and princely
courts, each with its own desire for fame. Like small jewels, these isolated
towns and palaces glittered with artworks of the greatest virtuosity and
remarkably innovative literature, music, and the sciences. In the service of
their own magnificence, these great cities and tiny duchies gathered to
themselves a remarkable collection of brilliant artists, poets, and scholars.
The courts were the personal possessions of princes (including at least one
woman); their task in the game of Italian politics was to maintain their status,
wealth, and independence through skillful marriages, force of arms, strength of
personality, and cultural power. Their aim as patrons of the arts and sciences
was to enhance their prestige, their honor, and their glory." "Alison Cole
explores these extraordinary courts, large and small, in the moment of their
greatest brilliance, seeing them as the inheritors of a medieval courtly
tradition, in contrast to Florence and Venice, whose model was ancient
Rome."--> na ov. - Bibliografija: str. 187-189. - Kazalo

"Ahmanson Murphy fine arts imprint". - Nasl.
raztegnjen čez dve str. - "The Artist as Producer reshapes our understanding of
the fundamental contribution of the Russian avant-garde to the development of
modernism. Focusing on the single most important hotbed of Constructivist
activity in the early 1920s - the Institute of Artistic Culture (INKhUK) in
Moscow - Maria Gough offers a reinterpretation of the work of the first group
of artists to call themselves Constructivists. Her narrative ranges from famous
figures such as Aleksandr Rodchenko to others who are much less well known,
such as Karl Ioganson, a key member of the state-funded INKhUK whose work paved
the way for an eventual dematerialization of the integral art object." "Through
the mining of untapped archives and collections in Russia and Latvia and a
close reading of key Constructivist works, Gough highlights fundamental
differences among the Moscow group in their handling of the experimental new
sculptural form - the spatial construction - and of their subsequent shift to
industrial production. The Artist as Producer upends the standard view that the
Moscow group's formalism and abstraction were incompatible with the
sociopolitical imperatives of the new Communist state. It offers new
perspectives on three critical issues - formalism, functionalism, and failure -
that are of central importance to our understanding not only of the Soviet
phenomenon but also of the European vanguards more generally."--> na ščitnem
ovitku. - Bibliografija: str. 231-243. - Kazalo

"Published to accompany the exhibition at the Irish Museum of Modern
Art, 22 Feb.-7 May, 2006; Tate Britain 14 June 2006-17 Sept. 2006; and Museo
Nacional Centro de Arte Reina Sofia 18 Oct. 2006-8 Jan. 2007."--> v kolofonu.
- "Howard Hodgkin (b.1932) has won international recognition for his intense
paintings, which take as their starting point his own recollection of a
particular social encounter, landscape, or effect of the weather. This book is
the most thorough exploration yet of his career, containing an authoritative
examination of the development of Hodgkin's work by James Meyer and conveying
the brilliant colour of his brushstrokes through extensive illustrations. With
an introduction by Nicholas Serota and an essay by Jo Crook and Jacqueline Ridge
that provides a unique insight into his painting technique, it also contains
the most extensive illustrated chronology on his work to date and a full
bibliography."--> na zavihku ov. - Biografija: str. 173-191. -
Bibliografija: str. 193-208. - Kazalo

"In the wake of World War
II, the paintings of Jackson Pollock, Mark Rothko, Barnett Newman, Willem de
Kooning, and other New York School artists participated in a culture-wide
initiative to reimagine the self. At a time when widely held beliefs about human
nature and the human condition were coming to seem to many commentators
increasingly outdated and inadequate, Abstract Expressionism gave compelling
visual form to a new subjectivity - a new experience and idea of self. In this
original and wide-ranging study, Michael Leja argues that the interest of these
artists in tapping "primitive" and "unconscious" components of self aligns them
with many contemporary essayists, Hollywood filmmakers, journalists, and
popular philosophers who were turning, like the artists, to psychology,
anthropology, and philosophy in the effort to reformulate individual identity.
Taking Pollock's paintings and their reception as a case study, Leja shows that
critics located in Pollock's abstract forms a web of metaphors - including
spatial entrapment, conflicted production, energy flow, gendered opposition,
and unconsciousness - that situated the paintings in mainstream cultural
discourses on the individual's sense of self and identity. In this
interpretative frame, the cultural and ideological character of the art is
illuminated. According to Leja, Abstract Expressionism effectively enacted and
represented the new, conflicted, layered subjectivity, a feature that helps to
account for the support and interest it garnered from cultural and political
institutions alike."--> na ščitnem ov. - Bibliografija: str. 370-388. -
Kazalo

77. LIPPARD, Lucy R.
Undermining : a wild ride in words and images through land use
politics in the changing West / Lucy R. Lippard. - London ; New York : The New
Press, 2014. - 200 str. : ilustr. ; 20 cm

"Award-winning author,
curator, and activist Lucy R. Lippard is one of America's most influential
writers on contemporary art, a pioneer in the fields of cultural geography,
conceptualism, and feminist art. Hailed for "the breadth of her reading and the
comprehensiveness with which she considers the things that define place" (The
New York Times), Lippard now turns her keen eye to the politics of land use and
art in an evolving New West. Working from her own lived experience in a New
Mexico village and inspired by gravel pits in the landscape, Lippard weaves a
number of fascinating themes--among them fracking, mining, land art, adobe
buildings, ruins, Indian land rights, the Old West, tourism, photography, and
water--into a tapestry that illuminates the relationship between culture and the
land. From threatened Native American sacred sites to the history of uranium
mining, she offers a skeptical examination of the "subterranean economy."
Featuring more than two hundred gorgeous color images, Undermining is a
must-read for anyone eager to explore a new way of understanding the
relationship between art and place in a rapidly shifting society. "--> na
zadnji str. ov. - Bibliografija: str. 196-200

"Published
to accompany the exhibition held at the Museum of Fine Arts, Houston, Mar. 11 -
Jun. 10, 2012"--> v kolofonu. - "Utopia/Dystopia investigates how artists
from the late nineteenth century to the present have used photograpic fragments
or techniques to represent political, social, or cultural states of utopia or
dystopia. This catalogue is heavily illustrated with works from the
accompanying exhibition"--> v kolofonu. - Bibliografija: str. 112-113. -
Kazalo

122. PRIMARY
documents : a sourcebook for Eastern and Central European art since the
1950s / edited by Laura Hoptman and Tomáš Pospiszyl with the assistance of
Majlena Braun and Clay Tarica ; foreword by Ilya Kabakov. - New York : The
Museum of Modern Art, cop. 2002. - 375 str. : ilustr. ; 25 cm

Nasl. raztegnjen čez dve str. - "Abstract Expressionism is arguably the
most important art movement in postwar America. Many of its creators and
critics became celebrities, participating in heated public debates that were
published in newspapers, magazines, and exhibition catalogues. This up-to-date
anthology is the first comprehensive collection of key critical writings about
Abstract Expressionism from its inception in the 1940s to the present
day."--> na ov. - Bibliografija: str. 665-706. - Kazalo

"Published by order of the Tate
Trustees on the occasion of the exhibition at Tate Modern, London, 20 September
2001-1 January, 2002, and touring to the Metropolitan Museum of Art, New York,
6 February-12 May, 2002"--> v kolofonu. - Opombe z bibliografijo: str.
315-325. - Kazalo

""This volume introduces to an English-language audience the
writings of the so-called "new Vienna School" of art history. In the 1930s Hans
Sedlmayr and Otto Pacht undertook an ambitious extension of the art historical
project of Alois Riegl (1858-1905). Sedlmayr and Pacht began with an
aestheticist conception of the autonomy and irreducibility of the artistic
process. At the same time, they believed they could read entire cultures and
worldviews in the work of art. The key to this contextualist alchemy was the
concept of "structure," a kind of deep formal property that the work of art
shared with the world." "The idea of this volume is to bring the drama of this
methodological and political encounter to the attention of Anglo-American art
historians."--> na ščitnem ov. - Bibliografija: str. 73-81

"This catalogue was published to coincide with
the exhibition War/Photography: Images of Armed Conflict and Its Aftermath,
organized by the Museum of Fine Arts, Houston, November 11, 2012-February 3,
2013"--> v kolofonu. - "More than 480 images illustrate the relationship
between photography and war, showing the experience of armed conflict through
the eyes of photographers across two centuries and six continents"--> v
kolofonu. - Biografije: str. 570-588. - Kazalo